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Em­brac­ing the senses means fo­cus­ing on of­ten-over­looked de­tails, such as acoustics and tex­tiles. “It is im­por­tant that spa­ces en­gage the senses and in­tel­lect,” says Mor­ley. From what’s over­head to what’s sur­round­ing us, tex­ture and colour make these in­no­va­tions invit­ing.

Open-plan spa­ces are in­creas­ingly in need of small meet­ing ar­eas or en­closed spa­ces that guar­an­tee pri­vacy. Acous­tic Room, de­signed by the Fan­toni Re­search Cen­tre, fea­tures a box com­posed of two dif­fer­ent-sized mod­ules with sound­proof 4akustik pan­els. It cre­ates an acous­ti­cally pro­tected oa­sis in­side open-space of­fices, col­lec­tive meet­ing spa­ces and any­where pri­vacy and con­cen­tra­tion are re­quired.

Of­fecct of­fers an ar­ray of acous­tic pan­els that blend style and sub­stance, in­clud­ing the Wind room di­vider, de­signed by Jin Ku­ramoto. The di­viders im­prove the acous­tic qual­i­ties of an en­vi­ron­ment, while at the same time ad­ding in­ter­est­ing di­men­sions to the room.

Light­ing is also marked by high per­for­mance and high style. De­signed by Joel Lars­son and Krook & Tjäder De­sign for Karl An­der­s­son & Söner, Re­verb is a vis­ually ap­peal­ing and prac­ti­cal ceil­ing-mounted sound ab­sorber. The hole in the sound ab­sorber lets light through from ex­ist­ing light fit­tings, or gives you the op­por­tu­nity to sus­pend light fit­tings through it. This means that Re­verb is ideal for hang­ing over meet­ing places, workspaces or along a cor­ri­dor.

Hu­man­scale’s new Ves­sel, de­signed by Todd Bracher, rep­re­sents the brand’s first foray into ar­chi­tec­tural light­ing. “We highly en­cour­age the im­ple­men­ta­tion of task light­ing at work­sta­tions along­side the re­duc­tion of over­head light­ing in or­der to re­duce the amount of en­ergy that goes into light­ing a space,” says Shane Co­hen, the brand’s Global Di­rec­tor of Light­ing.

Made from the high­est qual­ity quartz crys­tal, Ves­sel pro­vides beau­ti­ful, glare-free light in a sim­ple, re­fined form. Rather than tak­ing a stylis­tic ap­proach to light­ing, it was de­signed with a fo­cus on physics and op­ti­cal engi­neer­ing, and

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